Ochre Porcelain Tableware by Roger Mourre for Dieulefit, France, 1950's

Silver colored tea pot, with milk can and sugar pot. Teapot: 25 x 9 x 20 cm (LxWxH) Milk can: 14.5 x 6 x 10cm (LxWxH) Sugar pot: 20 x 9 x 10cm (LxWxH)

Black wooden risers and elmwood veneer book shelves and cabinet with black metal hooks. This wall unit consist of: 2 x shelf 80 x 20 cm 1 x shelf 80 ...

White and gold metal mirror. The glass of the mirror has a chip missing, but it is only visible in the back.

Light oak cabinet consistent of six parts, so you can make different compositions. Model Oresund, designed by Borge Mogensen for Karl Andersson. The ...

Dark brown metal floor lamp. The lamp can be adjusted and rotate 360 degrees on a ball. A small dent in the lamp shade. Herman Theodoor Jan Anthoin Busquet (1914-1977) was a Dutch industrial designer. He worked as a design director by Hala in Zeist. Hala specialized in sustainable luminaries of tube metal and rod iron...

Large rosewood wall unit with rosewood back plates. The cabinet has some traces of use like stains, but no veneer damage. There are 2 holes in the back plates, one for the lamp and...

tea/coffee service by "Les grottes Dieulefit", France, 50's It is composed of 2 teapots with lid (h: 26 cm; d: 19 cm) 1 sugar bowl (h: 9.5; d: 16...

Amazing and rare vintage tableware set designed by the renowned modernist Italian designer Lino Sabattini for world-famous silversmith Christofle...

Dieulefit means "God made it," but in this small, Provencal town, there is little evidence of a single deity at work. Rather, there are many inspired artisans at their wheels, creating pottery and ceramic accessories ranging from traditional country stoneware for everyday cooking and dining to striking contemporary ceramics for the serious collector. Situated in the northern reach of Provence, a region little explored by Americans, Dieulefit is as accessible and appealing as the Luberon, the area in southern Provence. Dieulefit and the surrounding countryside offer up a feast for the senses. An area diverse in natural colors, textures and scents, this lush land is a haven for the creative spirit. The tradition of pottery making in the region is as rich as the precious clay that supplied commercial potters in the late 1800s. Today, however, most of the local artisans get their raw materials from producers throughout France. The utilitarian nature of the original rural wares finds a distinct counterpoint in the more decorative items that are currently available in the area's many ateliers, galleries and commercial stores. One of the more prominent names in the region is that of the Mourre family, headed by Roger and Yvette Mourre, first generation potters who have been producing classic earthenware for nearly 48 years. Viewing the pottery-making process is more like peering over the artisan's shoulder than witnessing a formal demonstration. The reserved yet cordial Roger Mourre...

Handcrafted in Italy from the finest porcelain, this Berry teapot is entirely decorated with a dotted pink enamel. Measures: Teapot 20 x 12 x 14 H cm - 60cl - 20oz Piazza del Popolo, Berry collection Hand painted porcelain Made in Italy First introduced at Milan Design Week 2018, the Piazza del Popolo collection is named after a Roman landmark, at the heart of Roman everyday life, and inspired by traditional, simple Italian artisanal pottery yet decorated in a personal and elegant key. Each Coralla Maiuri product is entirely hand decorated. Each is a work of art. While ensuring consistency, they are never identical. Slight variations of decor and color from one to another are not only normal, but to be expected as a sign of their uniqueness.   For large quantities, production lead time to be confirmed. Dishwasher and microwave oven safe.

Vintage Danish tableware by J. H. Quistgaard, 1960s Danish ceramic tea set model Relief, designed by Jens Harald Quistgaard (IHQ) in 1959/1960. Primarily from Kronjyden, the first manufacturer, but also from Nissen and Bing...

Rare ceramic tea service for six in a very elegant light blue shade with decoration refined in pure gold, it was designed by Antonia Campi and manufactured by Laveno Ceramica in Verbano during the early 1950s. This set is composed of six (6) teacups, six (6) tea saucers, one (1) sugar bowl, one (1) teapot, and one (1) milk jug. Measurements: -Six cups 6 x 8 x 5.5 cm (each) -Sugar bowl 9 x 12 x 7 cm -Teapot 19 x 16, 5 x 9.5 cm -Milk Jug 11 x 12 x 7 cm. In 1856 Carlo Caspani, Alessandro Carnelli, and Severino Revelli, three employees of the Richard Ginori ceramics factory in Milano, set up the Società Ceramica C.C.R. making use of a disused building that had been a glass factory near the lakeshore. Production mainly consisted in fine earthenware and fire bricks. One of the key choices for the success of this initiative was an industrial-scale production of low-cost earthenware for domestic use. The manufacture of Laveno was gaining reputation; so that in 1869 part of its activity had to be moved to a new building called “Lago”. In 1883 it adopted a new denomination, Società Ceramica Italiana (with an S.C.I. trademark) that was to become famous. During this period, S.C.I. was led by bright managers: Tommaso Bossi and his successor Luciano Scotti, a graduate in engineering who led the company all the time from 1895 to 1956, raising it to its top level of capacity and production. In 1925 the Mulini plant was built in the Boesio area, where the blends and ''bodies'' were prepared. The Magazzini Generali (a warehouse), were also built and directly connected to the railway network. All the factory sites were interconnected by a “Decauville” railway for transporting materials. Also in 1925 the Verbano plant was built, following an agreement with the German Rosenthal company, for producing porcelain tableware and, later, ceramic insulators. The drive for innovation in production technologies, that took place during the Twenties, was accompanied by an equally intense artistic development. During the twenty's the architect Piero Portaluppi started collaborating with S.C.I. and thanks to Luciano Scotti’s foresight, young Guido Andlovitz, who had entered the company in 1923, was appointed art director in 1925, who introduced a renewal in the style of shapes and decorations, so that towards the end of the 1920s Ceramica di Laveno competed with Richard-Ginori, for the leading position in the ceramic art of Italy. Near the end of the 1930s, collaboration was started with Angelo Biancini, who created a new product line of artisan taste. In the late Forties, the young Antonia Campi joins the company as a decoration worker. Immediately, Guido Andlovitz notes her ability and potential qualities, and moves her into the artistic department. Starting with her 1948 first tiny vase...